I mean his character in Magnolia was a PUA(pick up artist) that was as charismatic as PUAs wished they where, but still let you see what a creep the character was and then you got to see the human side of the character.
And losing Cruise would mean loosing Magnolia and who wants that on their conscience.
The sky was full of stars, every star an exploding ship. One of ours.
Like Louis Malle's Vanya on 42nd Street, this film is an adaptation of a presentation: a filmic realization of a stage production from Andre Gregory and Wallace Shawn based on a 19th century piece, in this case Ibsen's very strange A Master Builder. Unlike Malle's film, this one isn't set on a stage (that is, it isn't filmed theatre), but is instead an icy, semi-naturalistic film shot in a real location.
The narrative is about a sick, egoic architect whose mortality has either jaded him or given clarity to his outlook on life. His already strained condition and relationship with his work and family are complicated further when a woman he sexually assaulted when she was a minor returns and forms a bizarre connection with him. It's with this woman that he discusses his guilt, doubts, and the depths of his narcissism. What the story is about in the larger sense, or even what the characters are talking about isn't always that clear, but themes and emotions seem to bubble to the surface through the very pointed character relationships and intense dialogue.
A film so dramatically theatrical (and it is paced and performed as a theatre piece despite the filmic presentation), really lives and dies by its performances, which I think are very strong. Wallace Shawn as the lead is very commanding and convincing as a manipulative patriarch, but Lisa Joyce, a younger actor I've never seen before, does a great job playing opposite Shawn in the tricky, symbolic role of Hilda. Julie Hagerty is also great as his wife, and further proves that she's a deeply undervalued performer.
Jonathan Demme's direction is in full support of the production here, often times sequencing shots in atypical patterns or employing zooms to better enhance or presuppose the dramatic beats of the dialogue. The cuts often feel like collisions, and an occasional multi-angularity seems to break apart the geography of the setting, and these choices strategically upset the subtle conventions of traditional filmmaking to better favour dramatic rather than visual rhythm.
It's over two hours long, and it's mostly just charged dialogue, but I found it really engaging. It's very odd, but very human---there's a real sense of dread and self-discovery in it. It isn't for everyone, it can't be and I can imagine it being annoying to many, but I thought it was an invigorating collaboration of several talents approaching very good and thoughtful material in creative and intuitive ways.
We are so overdue for another Sandy B/Keanu movie.
Wtf Hollywood, get on that
I needed to check out that rom com he did with Winona Ryder it looked entertaining.
Yeah, like I said, Dracula is a must see.
I submitted an entry to Lego Ideas, and if 10,000 people support me, it'll be turned into an actual Lego set!If you'd like to see and support my submission, follow this link.
I think that The Others, Moulin Rouge, and To Die For are worth keeping Kidman around for by themselves, and those aren't even peak Kidman.
I submitted an entry to Lego Ideas, and if 10,000 people support me, it'll be turned into an actual Lego set!If you'd like to see and support my submission, follow this link.
Pitt or Bale, in my opinion. Both of them strike me as cold and angry men in general, out and about in the world. Neither does anything to keep that from spilling into the characters they play. Bale, however, is a genius a picking roles that call for his brand. The Prestige is my favorite example of casting a movie right. You want a massively charismatic stage performer, you get Hugh Jackman. You want to pair him with a technically gifted magician that is a chore to watch, Bale is the obvious pick.
And then there is Batman. This is just my opinion, but Batman kinda sucks. Just, as a character, he's a complete dickhead of a man. Watching Bale bring to life the kind of psychotic asshole Bruce Wayne would have to be really earns him points from me.
So, I might be playing the game wrong, but it's Pitt. I generally just don't give a shit about the types of movies he picks and Bale at least makes use of his severe unlikeability.
Isn't there a video floating around of Bale verbally abusing the hell out of a camera person for
Edit: it was the DP of photography in Terminator Salvation
Edit 2: removed the incident since Ketar provided some follow-up
Carpy on
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KetarCome on upstairswe're having a partyRegistered Userregular
Isn't there a video floating around of Bale verbally abusing the hell out of a camera person for looking at him during a scene?
Edit: it was the DP of photography in Terminator Salvation
No.
He got mad because the DP had walked onto the set twice to check something while they were filming a scene, and it distracted him. His reaction was awful and he was deservedly lambasted for it, but it wasn't for something as ridiculous as being looked at.
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RingoHe/Hima distinct lack of substanceRegistered Userregular
I have no idea why Julianne Moore is even in the company of the other three, much less what roles of hers are worthy of saving
The problem with Murder on the Orient Express is that the Suchet TV movie is absolutely incredible and I imagine it'll be the same problem with Death on the Nile (which wasn't Suchet, but was also really fantastic)
These adaptations will be pretty good IMO but I'm going to instinctively compare them to arguably some of the best murder mystery adaptations of all time
Boogie Nights, An Ideal Husband, Far From Heaven, The End Of The Affair, Magnolia and A Single Man, to name a few.
You could probably add Safe (I've not seen it myself, but it sounds like she's fantastic in it) and Still Alice (which she also did a fantastic job in). If I remember correctly, she was also very good in What Maisie Knew.
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
Anyway you can't delete James Earl Jones because of Conan
Of those original four probably Crowe. I like Gladiator but other than that and I guess Master and Commander nothing leaps to mind. American Psycho, Fight Club and Vanilla Sky alone elevate the other three
I like LA Confidential a lot and I enjoyed Master and Commander a lot as well, but personally I'd stick with all those. The late 90s/early 2000s set of existentialist movies put out some great stuff and those are amongst my favourite (probably Dark City is the best of them all mind)
I've not seen that version, but looking at the cast my impression is that Branagh was aiming for something pretty different (and is again with Death on the Nile): less the definitive adaptation of the novel than a modern version of those films in the '70s and '80s where every role with more than three speaking lines was played by a star. The purpose was to give the audience the impression that they're hanging out with Hollywood's greatest of the last three decades. Many of these films had little more to go for them than the star-studded cast, but every now and then such a movie was great fun exactly because they succeeded at letting you hang out with all these people you've been watching on the big screen.
Though while I think that this is what Branagh was trying to do, he didn't particularly succeed for me, because it rarely felt like I was watching this amazing cast having fun and that I was having fun alongside them. There was a leaden, lifeless quality to Branagh's film. It felt like an imitation of the best of those films at best.
Thirith on
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
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MonwynApathy's a tragedy, and boredom is a crime.A little bit of everything, all of the time.Registered Userregular
I would go with Pitt. You lose Fight Club and Once Upon a Time but those are the only movies where it felt like Pitt stood out. Mr and Mrs. Smith, Ocean's movies, eh whatever, and you could probably switch out Pitt and Ethan Hawke for Interview With a Vampire. I guess I see Pitt as being more interchangeable with other actors for the roles in his movies than the others.
You also lose Se7en, Meet Joe Black, 12 Monkeys, Inglorious Basterds, all of which feel like real losses.
Brad Pitt playing a Tennessean pretending to be an Italian is worth it all by itself. Also "I think this might be my masterpiece" is my favorite ending to any Tarantino movie.
Hot take: Albert Finney is a good actor generally but was a terrible Poirot. Weirdly shouty and in-your-face in a way that didn’t work at all, making the long, climatic monologue almost unwatchable. Real Dumbledore in Harry Potter 4 energy
My exwife made me watch Meet Joe Black when we were dating two decades ago. I'm pretty sure this was the first step in the ultimate dissolution of our marriage.
I submitted an entry to Lego Ideas, and if 10,000 people support me, it'll be turned into an actual Lego set!If you'd like to see and support my submission, follow this link.
In my defense I haven't seen it in twenty years, but I remember really liking it. Maybe I caught it on TV and it was cut down or something because I definitely don't remember it being three goddamn hours.
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And losing Cruise would mean loosing Magnolia and who wants that on their conscience.
Wtf Hollywood, get on that
The Jesus Rolls?
Yeah, it came out at the end of February. Got panned badly.
I needed to check out that rom com he did with Winona Ryder it looked entertaining.
pleasepaypreacher.net
Like Louis Malle's Vanya on 42nd Street, this film is an adaptation of a presentation: a filmic realization of a stage production from Andre Gregory and Wallace Shawn based on a 19th century piece, in this case Ibsen's very strange A Master Builder. Unlike Malle's film, this one isn't set on a stage (that is, it isn't filmed theatre), but is instead an icy, semi-naturalistic film shot in a real location.
The narrative is about a sick, egoic architect whose mortality has either jaded him or given clarity to his outlook on life. His already strained condition and relationship with his work and family are complicated further when a woman he sexually assaulted when she was a minor returns and forms a bizarre connection with him. It's with this woman that he discusses his guilt, doubts, and the depths of his narcissism. What the story is about in the larger sense, or even what the characters are talking about isn't always that clear, but themes and emotions seem to bubble to the surface through the very pointed character relationships and intense dialogue.
A film so dramatically theatrical (and it is paced and performed as a theatre piece despite the filmic presentation), really lives and dies by its performances, which I think are very strong. Wallace Shawn as the lead is very commanding and convincing as a manipulative patriarch, but Lisa Joyce, a younger actor I've never seen before, does a great job playing opposite Shawn in the tricky, symbolic role of Hilda. Julie Hagerty is also great as his wife, and further proves that she's a deeply undervalued performer.
Jonathan Demme's direction is in full support of the production here, often times sequencing shots in atypical patterns or employing zooms to better enhance or presuppose the dramatic beats of the dialogue. The cuts often feel like collisions, and an occasional multi-angularity seems to break apart the geography of the setting, and these choices strategically upset the subtle conventions of traditional filmmaking to better favour dramatic rather than visual rhythm.
It's over two hours long, and it's mostly just charged dialogue, but I found it really engaging. It's very odd, but very human---there's a real sense of dread and self-discovery in it. It isn't for everyone, it can't be and I can imagine it being annoying to many, but I thought it was an invigorating collaboration of several talents approaching very good and thoughtful material in creative and intuitive ways.
Yeah, like I said, Dracula is a must see.
Nah I don't need to watch his life story I wanted to see something with fiction.
pleasepaypreacher.net
it was hilarious. I highly recommend it. This in light of the fact that I dislike most rom-coms
And then there is Batman. This is just my opinion, but Batman kinda sucks. Just, as a character, he's a complete dickhead of a man. Watching Bale bring to life the kind of psychotic asshole Bruce Wayne would have to be really earns him points from me.
So, I might be playing the game wrong, but it's Pitt. I generally just don't give a shit about the types of movies he picks and Bale at least makes use of his severe unlikeability.
Edit: it was the DP of photography in Terminator Salvation
Edit 2: removed the incident since Ketar provided some follow-up
No.
He got mad because the DP had walked onto the set twice to check something while they were filming a scene, and it distracted him. His reaction was awful and he was deservedly lambasted for it, but it wasn't for something as ridiculous as being looked at.
Maude Lebowski
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These adaptations will be pretty good IMO but I'm going to instinctively compare them to arguably some of the best murder mystery adaptations of all time
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
Always a joy to see some actor who made it big later stretching their legs in a Poirot or Miss Marple.
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But the last adaptation was this
You're swimming upstream
No real loss
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Nicolas Cage
Of those original four probably Crowe. I like Gladiator but other than that and I guess Master and Commander nothing leaps to mind. American Psycho, Fight Club and Vanilla Sky alone elevate the other three
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Though while I think that this is what Branagh was trying to do, he didn't particularly succeed for me, because it rarely felt like I was watching this amazing cast having fun and that I was having fun alongside them. There was a leaden, lifeless quality to Branagh's film. It felt like an imitation of the best of those films at best.
"Nothing is gonna save us forever but a lot of things can save us today." - Night in the Woods
You also lose Se7en, Meet Joe Black, 12 Monkeys, Inglorious Basterds, all of which feel like real losses.
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What, you wanna lose the gif of him getting hit by the bus? That shit's hilarious.
The Fifth Element was made one year before and cost exactly the same amount.
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(Actually I did like it when we rented it at age 12)
In my defense I haven't seen it in twenty years, but I remember really liking it. Maybe I caught it on TV and it was cut down or something because I definitely don't remember it being three goddamn hours.